Episode 520 - Dan Fowler on 20 years of Virtual Production on the Avatars

After nearly 20 years dedicated to James Cameron's groundbreaking Avatar saga, virtual production supervising stage operator Dan Fowler joins host Chris Nichols in the garage for a deep dive into his incredible 30-year career. Dan recounts his journey from being the drummer in a 90s hair metal band to becoming a key operator on one of the most technologically advanced film sets in history. This conversation is a rare, firsthand look into the evolution of modern filmmaking. Dan shares stories from the trenches, starting with his self-taught entry into VFX, his "rock and roll" days at Digital Domain in the late 90s, and the pivotal moment in 2005 when he joined the top-secret Avatar prototype project. He provides an insider's perspective on how the virtual production pipeline was built from the ground up, the immense pressure of working alongside James Cameron, and what it was like to solve unprecedented technical challenges in real-time. Dan Fowler and IMDB > Dan Fowler on LinkedIn > Avatar: The Way of Water - Capturing Pandora > Episode 518 - Scott Ross: "You Got It Wrong About James Cameron" > Episode 510 - Industry Roundtable — James Cameron, AI, Sinners, and Indie films >

https://www.imdb.com/title/tt1235529/Ever wonder how the scrappy, sarcastic world of Murderbot was brought to life? Veteran Visual Effects Supervisor Sean Faden pulls back the curtain on the hit Apple TV+ series, revealing the innovative and often hilarious journey of its creation. He shares the origin story of his involvement, detailing a highly collaborative process that began nearly a year before filming. Discover how the team stretched a modest budget to create an epic feel, using real-world locations from the deserts of Moab to the volcanic landscapes of Iceland. Sean gives a masterclass in creative problem-solving, from embracing the glorious cheese of the show-within-a-show "Sanctuary Moon" to designing a spaceship based on Jiffy Pop popcorn and filming creature attacks with a kiddie tunnel. They also discuss the future of the entire industry. Looking ahead from his current work on the anticipated Highlander reboot, Sean provides a firsthand account of the massive technological shifts underway. He and Chris dive deep into how AI tools are revolutionizing the filmmaking process, accelerating everything from initial concept art to on-set communication. This is a must-listen for anyone interested in the creative and technical magic behind modern visual effects and what's coming next. Sean Faden's Previous CG Garage Episode > Sean Faden's IMDb > Murderbot on Apple TV+ > Highlander (Upcoming Reboot) >

A few months back, on episode 510, we debated whether James Cameron is an all-powerful maverick who answers to no one. VFX legend and Digital Domain co-founder Scott Ross heard the discussion and had a clear message for us: "You got it wrong." According to Scott, the idea that Cameron operates completely free from studio influence is a fantasy, especially when a quarter-billion dollars is on the line. He holds nothing back, sharing an explosive insider story from the set of Titanic that shows exactly how fraught that relationship can become. However, Scott is quick to admit that while he critiques the process, he never bets against the results, acknowledging that Cameron's success is both undeniable and admirable. The conversation then ignites over the future of the industry, as Scott labels Cameron’s public stance on AI "totally disingenuous." In his unfiltered opinion, AI isn't a tool for faster creativity; it's a weapon the studios will use to decimate the visual effects workforce. Strap in as Scott Ross unloads on the "corporate socialism" of tax subsidies and whether the current chaos in Hollywood is the opportunity needed for a true creative revolution. This is an unfiltered, pull-no-punches look at the real state of filmmaking.  Scott Ross’s Wikipedia page > UPSTART: THE DIGITAL FILM REVOLUTION MANAGING THE UNMANAGEABLE > James Cameron’s thoughts on AI > Savannah and Georgia Reel as Film Production Drops >

Computer graphics pioneer Ken Perlin invented Perlin noise, a foundational tool used in nearly every area of computer graphics. In this episode of CG Garage, Ken shares his unique journey, starting with a childhood love for both art and mathematics. He recounts how his early work on the film Tron inspired him to invent Perlin noise and the foundational concepts of shaders, a breakthrough that laid the groundwork for modern GPUs and the photorealistic visuals we see today. His presentation of this work at SIGGRAPH in 1984 directly influenced companies like Pixar and permanently altered the landscape of visual effects. The conversation extends beyond historical innovation to a compelling discussion about the future. Perlin draws a sharp distinction between VR and XR, predicting that true mass adoption of immersive technology will only happen when devices become socially invisible, much like the iPhone's impact on personal communication. He posits that the future of technology is not about escaping reality but enhancing it, and that the ultimate "killer app" will be the ability to connect with others in a shared virtual space. We also dive into the role of AI as a creative tool, with Perlin arguing that while it's a powerful new medium, it remains a “recombinant” engine that lacks sentience and is ultimately a vehicle for human creativity and expression. Ken Perlin’s Blog > Ken Perlin on Wikipedia > NYU Holodeck: Future Reality Lab > Future Reality Lab - Github >  

This week, we sit down with acclaimed cinematographer Autumn Durald Arkapaw, the first woman ever to shoot on IMAX for the film Sinner. She discusses her unique journey into filmmaking, including her work in 16mm on The Last Showgirl and her credits on major studio projects like Black Panther: Wakanda Forever and Marvel’s Loki. Autumn highlights the vital importance of finding a creative community and emphasizes how her career has been built on trust and collaboration with fellow artists. Autumn also dives deep into the dynamic (and sometimes frustrating) relationship between cinematographers and visual effects artists. Using her experience on Sinner as a prime example, she advocates for a more collaborative approach, stressing the need for on-set decisions and in-camera solutions to create more authentic and emotionally resonant images. The conversation is a masterclass in filmmaking, exploring everything from the subtle power of light and shadow to her experience as the first woman to shoot on IMAX for a narrative feature film. Autumn Durald Arkapaw's website > Autumn Durald Arkapaw's wikipedia > Autumn Durald Arkapaw's IMDB > Autumn Durald Arkapaw's Instagram >

Episode 515 marks the very first CG Garage Podcast episode under the Monstrous Moonshine banner, and it’s a big reset moment. Chris is joined by longtime collaborator Daniel Thron and new producer/coordinator Lily Nichols to introduce this new chapter. Together, they reflect on the origins of the Monstrous Moonshine name, its ties to both 1970s cinema and mathematics, and why it represents the kind of creative synchronicity they want to bring into filmmaking. They also talk openly about the transition from Chaos, where the podcast began 11 years ago, and what this move means for the future of the show. The discussion quickly moves into the state of the movie industry today, with the group debating whether Hollywood is on the brink of another “New Hollywood” moment like the late 1960s. They examine the rise of bold new films such as Everything Everywhere All at Once, Spider-Verse, K-Pop Demon Hunters, and Godzilla Minus One, contrasting them with the fatigue of endless franchises. The conversation also tackles AI’s role in the future of production, the pressures on young filmmakers, and why risk-taking is once again the only way forward. It’s both a reflection and a rallying cry: a podcast looking back at its roots while leaning hard into the future of filmmaking. Monstrous Moonshine > CG Garage > Ray Tracing FTW >

This episode marks the final CG Garage podcast under the Chaos umbrella. The next chapter of the show will launch under a new banner, continuing the conversations that explore the art, craft, and future of filmmaking. Armen Kevorkian joins Chris to reflect on his long career in visual effects, from his early start as an intern on Star Trek: Voyager and Deep Space Nine to becoming the president of Ingenuity Studios. He shares how mentorship in those formative years at Paramount shaped his career, his transition into supervising on shows like Invasion and The Flash, and the evolution of VFX in broadcast television, where tight deadlines and experimental techniques pushed his teams to innovate. Armen recalls being part of television milestones like scanning actors for digital doubles for the first time and watching the rise of superhero shows that paved the way for streaming-era ambitions. The conversation dives into how the industry has shifted in the past 20 years, from the challenges of working through COVID and adapting to remote workflows, to the rise of generalists and the growing role of AI tools in concepting, roto, and plate prep. Armen reflects on invisible effects, the hidden craft of making audiences believe something was always there, and how facilities must adapt as filmmakers experiment with leaner, bespoke VFX pipelines. He also shares his vision for Ingenuity Studios, their recent work on projects like Untamed and Weapons, and his excitement about building tighter partnerships with filmmakers from the earliest stages of production.

At SIGGRAPH 2025, Chaos unveils major updates to Vantage and Arena that significantly expand real-time ray tracing workflows. Product managers Simeon Balabanov and Georgi Zhekov join Chris to break down the new capabilities, including native USD and MaterialX support, Gaussian splats with ray-traced lighting, volumetric caches, and a streamlined pipeline that keeps the same asset across previs, virtual production, and post. This episode arrives just in time for SIGGRAPH, where these features are being officially announced, giving listeners an early look at what will be showcased in Vancouver. The conversation dives into key production tools like mimic lights for realistic set illumination, in-volume color correction, real-time depth of field, and live lighting adjustments. Simeon and Georgi explain how these innovations reduce conversion work, improve on-set flexibility, and allow for advanced asset previews even from a home studio using Vantage with camera tracking. They also highlight new camera tracking protocols, a standalone material editor, and Arena’s watermark trial mode, showing how Chaos is making high-end virtual production more accessible and adaptable for filmmakers.

In this episode, Chris chats with Susan O’Neal, a long-time force in the visual effects industry, about her remarkable career journey and insights into the evolving VFX world. Susan recounts starting as employee #24 at Digital Domain in the early ’90s, working on landmark projects like Titanic, and moving through various studios such as Lightstorm, A52, CIS, Zoic, and Riot. Along the way, she wore many hats, from operations to production, before pivoting to recruiting, where she found her niche connecting talent with opportunity while balancing her family life. Susan shares candid stories about the early days of VFX, the quirky culture at DD, and how she transitioned into recruiting and coaching. She and Chris discuss how the industry has changed with remote work, tax incentives, and the rise of AI and virtual production. Susan also offers practical advice for creative professionals on LinkedIn best practices, career resilience, and staying adaptable in uncertain times. This episode is a thoughtful reflection on the past, present, and future of creative careers.

VFX veterans Chad Wanstreet and Allan McKay join Chris to talk about their new startup, Version Zero, a company aimed at automating the mundane tasks that bog down visual effects work. Born out of years of frustration with tedious jobs like roto, paint, plate cleanup, and matchmove, Version Zero helps artists and studios save time and focus on the creative parts of production. Chad and Allan share the origin story of the company, which started over Thanksgiving wine and coffee, and explain how their tools are already being used on shows like The Sympathizer and SWAT. The conversation dives into how Version Zero works, how it differs from other AI-driven tools, and why they have resisted VC funding to stay focused and practical. Chris, Chad, and Allan debate the future of entry-level VFX jobs, the rise of the empowered generalist, and how AI can enable artistry rather than replace it. They also reflect on the resistance to new technology in the industry, the “false economy” of outsourcing, and the importance of developing tools that fit real production needs. It’s an honest and thoughtful look at the future of VFX in an AI-driven world and how to build a smarter starting point for artists: version zero.